Arts & Entertainment
Visiting virtuoso
Organist Cameron Carpenter makes D.C.-area debut next weekend
Cameron Carpenter, organist
Music Center at Strathmore
5301 Tucker Lane
North Bethesda, MD
April 12
8 p.m.
$25-40
301-581-5100
Strathmore.org
Cameroncarpenter.com
Organist Cameron Carpenter. (Photo by Heiko Laschitzki; courtesy Bucklesweet Media)
Organist Cameron Carpenter is a tangle of apparent contradictions.
On one hand, he’s made a slightly daring fashion sensibility a central component of his stage persona, yet in stage speech (banter is way too light a term for it) and conversation, he comes off as deadly earnest. But perhaps this says more about us — why do we tend to think that mohawks and sequins might indicate a less-than-intellectual musical mind?
Perhaps because he takes — in some ways — a rock star approach to being a serious (Juilliard-trained) classical musician and seems to delight in unorthodox and even iconoclastic approaches (his transcriptions of piano and orchestral works to the organ have elicited everything from critical awe to “is-this-a-joke?” reactions), Carpenter is a polarizing figure.
But get to know the queer, Berlin-based organist, follow his career over several years and play devil’s advocate with him — as we’ve done here — and you realize the creativity and talent he brings to it all far supercedes the reductions of dozens of articles and TV profiles around the world that have reduced him to little more than a “bad boy” or “modern-day Liberace.” Yes, there’s grumbling in more staid organ-world circles (one often notices a trend of rather bemused expressions when his name is uttered), but try to think of young organists who are sparking the kind of raves and career he has managed, and the list gets really, really short. He makes his Washington-area debut April 12 at the Strathmore.
Carpenter, in Georgia with a friend who’s having him give a private recital at a pipe organ this person has installed in his house, says he feels little pressure generally speaking. We chatted for about an hour in mid-March by phone.
“I am conscious of it at times and I sometimes have the sudden realization of deadlines coming up but though this may sound supremely arrogant, when I later manage to pull it off, I realize I should never have had any self doubt. I think this theory is sound … I try to stay away from getting too caught up in pressure and luckily I don’t get stage fright.”
Carpenter remains — a recurring theme — frustrated by constantly having to adapt to the organs in various concert halls around the world. Purists are skeptical, but Carpenter expects a touring organ he’s been working on for several years will be “built and launched” next year.
Of the grand tradition of grand organ building, Carpenter says what he’s trying to do doesn’t diminish those achievements.
“It’s not how many rooms full of wooden pipes there are or how many degrees someone has or how many works one has written for the organ,” he says. “It’s only interesting in terms of human emotion and how it makes us feel to be alive.”
He says constantly having to get accustomed to new organs has become maddening.
“The closest analogy I can come up with is if you made a film and every time you screened it, you had to recut the edit. There’s a staggering amount of work that goes into each minute of film. It would be almost unsustainable. That’s why touring for me is so very hard.”
Although it’s highly likely to change — Carpenter has been known to have programs printed, then play nothing listed on them — he says his Strathmore performance may contain an organ adaptation of Leonard Bernstein’s “Candide” Overture, perhaps some Marcel Dupre variations, a reimagining of a scherzo by Tchaikovsky and “maybe” some Liszt Transcendental Etudes.
“It all depends on the organ, which is as yet unknown,” he says.
Carpenter says he can’t relay details just yet, but an announcement about a new recording deal is imminent. His last album was 2010’s “Cameron Live!” release (a CD/DVD double album). A feature-length documentary on his life and work is also “very much in the planning stages,” he says.
“I don’t really see myself as someday having a recorded legacy of 70 CDs, but I do think it would be great if each of them … is something really personal and strong. … I’ve also wanted to wait until the right recording instrument would be available so I’ve been focusing most of my energy on that for now. I don’t have any particular compulsion to record just for its own sake.”
He says he appreciates media coverage immensely so objecting to superficial comparisons of performers from bygone eras isn’t necessarily a bad thing.
“It is kind of knee-jerk and wildly reductive, but they can’t be blamed for trying to sell tickets,” he says. “I wouldn’t mind if I never hear the phrase ‘bad boy of the organ’ ever again but it’s a sad truism I guess.”
And of the Mohawk he’s been sporting of late, Carpenter says it’s here to stay at least for now.
“I think I’ve settled on something that hits a visual balance of elegance and style. It’s also the haircut of a warrior which is not inappropriate.”
Friday, May 1
Go Gay DC will host “First Friday LGBTQ+ Community Social” at 7 p.m. at Silver Diner Ballston. This is a chance to relax, make new friends, and enjoy happy hour specials at this classic retro venue. Attendance is free and more details are available on Eventbrite.
“Illusions The Drag Queen Show Washington, D.C.” will be at 7 p.m. at 2323 18th St., N.W. Come see this amazing D.C. drag show and laugh all night long while being amazed by the stellar performances in tribute to some of your old-time favorite classics as well as the latest pop favorites. Come see the likes of Madonna, Cher, Tina Turner, Whitney Houston, Joan Rivers, Phyllis Diller, Beyoncé, Pink, and many more. Tickets are $12.97 and are available on Eventbrite.
Saturday, May 2
Go Gay DC will host “LGBTQ+ Community Brunch” at 11:00a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.
Drag Queen Sip and Paint Washington DC will be at 4 p.m. at Town Tavern DC. This event combines the joy of painting with the lively energy of a drag queen, offering an hour and a half of fun, creativity, and entertainment. Participants paint a canvas while enjoying cocktails, all under the guidance of a glamorous drag queen host. Tickets are $47.19 and are available on Eventbrite.
Monday, May 4
“Center Aging: Monday Coffee Klatch” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more information, contact Adam ([email protected]).
Tuesday, May 5
Universal Pride Meeting will be at 7 p.m. on Zoom. This group seeks to support, educate, empower, and create change for people with disabilities. For more details, email [email protected].
Wednesday, May 6
Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.
Center Aging Women’s Social and Discussion Group will be at 6 p.m. on Zoom. This group is a place where older LGBTQ+ women can meet and socialize with one another. There will be discussion, activities, and a chance for guests to share what they want future events to include. For more information, email [email protected].
Thursday, May 7
The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245.
Virtual Yoga Class will be at 7 p.m. on Zoom. This free weekly class is a combination of yoga, breath work and meditation that allows LGBTQ+ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC Center’s website.
The new monthly 90’s Flashback Drag Brunch premiered at Red Bear Brewing Co. on Sunday, April 26. Performers included Logan Stone, Tiffany D. Carter and Charlemagne Chateau.
(Washington Blade photos by Michael Key)
Celebrity News
Madonna makes rare club appearance in West Hollywood
Gay icon brought ‘Confessions II’ to The Abbey
A line of celebrities, “Drag Race” queens, influencers, media, and West Hollywood socialites lined the block around West Hollywood’s The Abbey, all clamoring to get into the invite-only celebration of owner Tristan Schukraft’s birthday. The rumor, which became verified gossip, was that Madonna, the Queen of Pop herself, would be taking the stage. Of course, the Blade had to be there.
With disco balls and Abbey statues covered in pink chiffon, it was clear. This party was a direct tie-in to Madonna’s much-anticipated “Confessions on A Dance Floor” album sequel, “Confessions II.” That night, the Abbey also unveiled its remodeled dance floor, a fitting collaboration.
The club was filled to capacity with a completely open bar, keeping the crowd liquored up. Go-go dancers in black leather collars and thongs lined the room, and celebrities that included Lilly Allen, Bebe Rexha, Tori Spelling, Julia Fox, Sam Asghari, Daniel Frenzese, Cynthia Bailey, Meredith Marks, Tom Daley, and more filled the VIP booths alongside World of Wonder personalities. It was a veritable who’s who of queer folk and allies.
The lights began to dim, the dance floor began to rumble, and Madonna graphics hit the screens. At around 1 am, it was time. Introduced by Addison Rae, Madonna grabbed the mic and started chanting, welcoming her “gays.” The venue resounded in thunderous chants of “freedom,” “mother,” and “bitch.”
Madonna was not there to perform. She was there to dance. She took the stage for about 15 minutes, keeping the crowd going with her naughty and fun commentary. There is no list that needs to be provided on how Madonna’s career has become part of queer culture. Going back to her dance music roots and going back to her gay fans is smart.
Released in 2005 (yes, it has been that long), “Confessions on a Dance Floor” was an instant hit, with four singles from the album being released. The album’s lead single, “Hung Up,” topped the charts in 41 countries with Billboard calling it the most successful dance song of the decade. The album had hints of 60s and 70s flair, mixed in with dance music prevalent at that time. The music still dominates at queer clubs across the globe.
Madonna knows we need a little queer joy; she also knows that fans miss the Madonna we all knew and loved. With the nation in such turbulence, we all need some comfort, and going back to a time when we felt safer and had more to celebrate just feels good. For the new album release, she has even partnered with Grindr for a limited edition vinyl release and exclusive behind-the-scenes content.
Her night at The Abbey presented snippets of her new music mixed in with some of her classics. The new material sounded good, sounded familiar in an exciting way, and shows that this diva has still got it.
“Confessions II” releases on July 3.
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